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Dilla in his home studio. Photo: Raph Rashid. And while those of us in the underground will never forget the valiant battle Too Poetic of Da Gravediggaz faced in before succumbing to colon cancer, the experience of watching such a universally beloved figure such as Yancey slowly succumbing to his illnesses was indeed new territory for the art form. Peanut Butter Wolf: To me, Donuts was a combination of all different styles of music. Prog rock, sweet soul, early electronic music, you name it.

You know, a lot of his beat CDs, and Donuts especially, were all so heavy on soul. And I think that sense of versatility he showed on those recordings affected everyone, because a lot of those beats were polar opposites. You have a 10cc sample one song, and then Dionne Warwick on another. But Dilla was up for sampling any genre of music at any time. Adam Dorn: I totally think Dilla inspired jazz in recent years. Especially with drummers.

A non-drummer has influenced more jazz drummers or rather jazz-like drummers than any other drummer in recent memory. It affected Tortoise, however, especially when we were making Beacons of Ancestorship and the whole way we constructed that record, or at least parts of it.

Photo: Courtesy of J Dilla. Does it look like that from your end? Why or why not? But I was intrigued only because what he did with an SP was so advanced.

He was a real musical visionary in terms of how he created sounds, and that is forever relevant. Stones Throw was never meant to be genre-specific nor is Madlib, nor was Dilla.

It was really unique, man, and really refined. I would say Madlib is way sloppier in his stuff than Dilla was. Everything was just grabbed and dragged behind the beat, too. In your opinion, do you think Dilla had this magnum opus in his mind or was the creation of these beats done on a more cathartic level or therapeutic level for him that summer he was in the hospital?

He was in my car with Madlib and I and we were going record shopping and he just gave it to Let It Snow - Various - Christmas Duets to play in the car. But, after I told him I wanted to release Donuts as an instrumental album, he told me he wanted to go back and work on the tracks even more and make it even longer, which he did, and then he got sick and went back to the hospital.

I still have the original early version of the album on CD that he gave me somewhere in my garage or storage and have been meaning to dig it up and hear how different it was from the final album. Was it based on an actual shop? So the story goes the album was named as such because Jay loved donuts.

He was a funny dude. Wolf, who was the most famous person to reach out to Stones Throw about Donuts? He did it back in before he was really known. It definitely made me feel appreciated! While Dilla was alive, Ma Dukes had his back more than anyone. She stayed Chanting - J Dilla - Nahh​.​.​Never Too Much Donuts the hospital with him the whole time and tended to him as much if not more than any of the nurses. She went through so much during his final years and was the rock that held us all together.

That freaks me out the most. Combine that with churches churning out players and you have a rebirth of musicianship. Jeff Parker: We were all giant fans of that record in Tortoise, man. I mean, we all loved Dilla in general. It was a very Chanting - J Dilla - Nahh​.​.​Never Too Much Donuts time. It was totally different from the stuff that he had been doing. When I first put Chanting - J Dilla - Nahh​.​.​Never Too Much Donuts on, I was actually kind of put off by it.

I was actually just listening to it very recently and I always hear new things every time I listen to it. I was so moved and touched to be in the audience for that one when they did it in L. It was really incredible. Riggins: I feel like the music created on Donuts was really timeless and genius, especially in the way he used those chops and the way he manipulated Weird Honey - Elvis Depressedly - Holo Pleasures samples.

He was not just a beatmaker. When I listen to Donutsit still sounds totally fresh. We get it: you like to have control of your own internet experience. But advertising revenue helps support our journalism. To read our full stories, please turn off your ad blocker. We'd really appreciate it. Click the AdBlock button on your browser and select Don't run on pages on this domain. Photo: Stones Throw Records. Photo: Chanting - J Dilla - Nahh​.​.​Never Too Much Donuts Erikson.

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As if the inventive and delicious donuts and great coffee were not enough, this little gem also offers J Dilla merchandise for those who are fans of the hip-hop legend. The woman running the shop was also extremely friendly and made my visit to Dilla's Delights a stop to remember. Can't wait to return next time I find myself in Detroit/ Yelp reviews.

Dilla's uncle saw me taking photos of the wall with a model of a the city. The kind man told me the history and the ramification of gentrification in Detroit. I am naive to the history of Detroit and asked a bunch of questions and he answered them all patiently. It's a simple little donut shop with so much / Yelp reviews.

We never hear his voice, but the first thing he does is tell us his name: J Dilla. Then come the sirens, and we’re off. For 43 minutes across the 31 tracks of Donuts, released ten years ago this week, J Dilla breaks and rebuilds samples in a way that breaks and rebuilds the way you hear kelediballadomeenasnowforge.infoinfo the music is sample-based, the sources aren’t so much looped as they are transformed into.

The Roots pay tribute to J Dilla on their album Game Theory with "Can't Stop This", a song that incorporates J Dilla's song "Time: The Donut of the Heart" as the beat with emcee Black Thought rapping about the impact he had on his life. The song closes with a number of voice messages discussing J Dilla's legacy and influence on hip-hop.

Although J Dilla is respected mainly for his intrumental work, he has never crafted an entire album meant to be released insturmental until now. Donuts is accessible without being typical or easily defined: it's hip-hop without MC's, electronic music that at times sounds like a 70s soul mixtape/5().